- New
Faro di Messina
| Reference: | S51153 |
| Author | Joseph Friedrich Leopold |
| Year: | 1725 ca. |
| Zone: | Messina |
| Printed: | Ausburg |
| Measures: | 295 x 200 mm |
€950.00
- New
| Reference: | S51153 |
| Author | Joseph Friedrich Leopold |
| Year: | 1725 ca. |
| Zone: | Messina |
| Printed: | Ausburg |
| Measures: | 295 x 200 mm |
€950.00
Description
Beautiful and rare panoramic view of the Strait of Messina sketched in the wake of the greatest views drawn by Fredrich Bernhard Werner and published in Augsburg by the heirs of publisher Jeremias Wolff (1663-1724), Georg Balthasar Probst (1673-1750) - his son-in-law- and his successor, his son Johann Friedrich (1719-1781).
Werner, born in Reichenau, was a draughtsman, engraver, engineer and stage designer; during his busy life he traveled extensively in various European states first as a soldier then as a simple traveler, producing numerous drawings of the places he visited. After spending a period of study in Augsburg working with engraver K. Remshard, he undertook a trip to Italy in 1730, visiting many cities on the peninsula, later becoming engineer and set designer to the King of Prussia. His vast output includes a multiplicity of works devoted to places and cities in various European countries - Poland, Holland, France, Italy - dwelling particularly on his homeland, to which the images of the "Scenografia urbium Silesiae", published by the heirs of Johann Baptist Homann in Nuremberg, are dedicated. Werner can be considered one of the most prolific draughtsmen of his generation, one of the last great figures during the eighteenth century to devote himself to the creation of the city portrait by depicting the urban structure in its entirety, in the wake of a tradition that was now centuries old; in the course of the century, the logics that would assert themselves would instead be, on the one hand, those that would break the city into several images, and on the other, those that would lead to the definitive establishment of scientific topography.
Werner's images provide a model for the creation of a number of other views published in Europe. These include those of the Viennese publisher Christofer Haffner (1668-1754), active probably between 1720 and 1750, and those of Johann Christian Leopold (1699-1755).
Leopold, was a modest Augsburg engraver and publisher; his series of city views, from which this engraving is taken, was published with very few print runs, thus making the works particularly rare.
Copperplate engraving, in very good condition.
Joseph Friedrich Leopold (1668-1727)
|
Joseph Friedrich Leopold (also: Josef, Iosef; Latinized as Josephus Fridericus Leopoldus; * 1668 in Marktredwitz; † February 6, 1727 in Augsburg) was a German copperplate engraver and music engraver, as well as publisher and art and music dealer, based "auf dem Obst Marck" (1703) 'in der Kohlergasse.
Leopold arrived in Augsburg in 1689. He had been married since April 21, 1698, to Eleonora Magdalena Steudner, daughter of Augsburg copperplate engraver and art publisher Philipp Steudner. He was the father of engraver and publisher Johann Christian Leopold. Beginning in 1695 Leopold made a lasting name for himself as an engraver. He founded a sheet music publishing house, which his son soon expanded to become the most important in Augsburg in the first half of the 18th century. The importance of the company's founder, however, lies mainly in the early "dissemination of copied or imitated foreign ornamental forms," which he published in the form of pattern books, thus fostering the flowering of illustrated prints in Germany.
Leopold collaborated with various artists and craftsmen, such as Johann Andreas Thelott, Albrecht Biller, and Balduin Drentwett. In 1719 Leopold took over the Augsburg publishing house from Johann Ulrich Krauß; in 1723 he began a series of partially colored city views; in the period between 1710 and 1750, the publishing family published 221 prints and city views.
The German Book and Type Museum of the German National Library lists Leopold among the colored paper manufacturers in its holdings under the heading Paper History Collections. According to Haemmerle, he produced "Turkish paper" and other colored papers; for this reason he had "disputes about copying with Jakob Johann Crespi. In 1726 he received an imperial privilege for his metallized papers. Haemmerle considered his brocaded papers, "especially those with chinoiserie," among the best products of their kind.
|
Joseph Friedrich Leopold (1668-1727)
|
Joseph Friedrich Leopold (also: Josef, Iosef; Latinized as Josephus Fridericus Leopoldus; * 1668 in Marktredwitz; † February 6, 1727 in Augsburg) was a German copperplate engraver and music engraver, as well as publisher and art and music dealer, based "auf dem Obst Marck" (1703) 'in der Kohlergasse.
Leopold arrived in Augsburg in 1689. He had been married since April 21, 1698, to Eleonora Magdalena Steudner, daughter of Augsburg copperplate engraver and art publisher Philipp Steudner. He was the father of engraver and publisher Johann Christian Leopold. Beginning in 1695 Leopold made a lasting name for himself as an engraver. He founded a sheet music publishing house, which his son soon expanded to become the most important in Augsburg in the first half of the 18th century. The importance of the company's founder, however, lies mainly in the early "dissemination of copied or imitated foreign ornamental forms," which he published in the form of pattern books, thus fostering the flowering of illustrated prints in Germany.
Leopold collaborated with various artists and craftsmen, such as Johann Andreas Thelott, Albrecht Biller, and Balduin Drentwett. In 1719 Leopold took over the Augsburg publishing house from Johann Ulrich Krauß; in 1723 he began a series of partially colored city views; in the period between 1710 and 1750, the publishing family published 221 prints and city views.
The German Book and Type Museum of the German National Library lists Leopold among the colored paper manufacturers in its holdings under the heading Paper History Collections. According to Haemmerle, he produced "Turkish paper" and other colored papers; for this reason he had "disputes about copying with Jakob Johann Crespi. In 1726 he received an imperial privilege for his metallized papers. Haemmerle considered his brocaded papers, "especially those with chinoiserie," among the best products of their kind.
|